scholarly journals Slovak music culture and music professions during Classicism era

ICONI ◽  
2021 ◽  
pp. 68-74
Author(s):  
Maria Strenacikova ◽  
◽  
Maria Strenacikova ◽  
Keyword(s):  
Music Teachers ◽  
Parochial Schools ◽  
Wind Instruments ◽  
Music Culture ◽  
Musical Culture ◽  
Music Schools ◽  
Musical Tradition ◽  
Concert Halls ◽  
Joseph Ii ◽  
Francis I

The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.

THE CLASSIC GENRE OF THE ORAL TRADITION OF AZERBAIJAN IS "MUGHAM"

2020 ◽  
pp. 6-10
Author(s):  
Mammadov R.
Keyword(s):  
Folk Music ◽  
Oral Tradition ◽  
Single System ◽  
Musical Culture ◽  
Musical Tradition

This article is dedicated to the classical mugham genre. It analyzes the main genres of musical culture in Azerbaijan. The author studies the process of emergence of this genre, as well as its main types. Studies folk and national musical art, analyzes the classification of all genres of the oral musical tradition and combines them into a single system of genres of Azerbaijani folk music.

The Life of Telengit Musical Folklore in Yazula Village in Conditions of Transitivity

2021 ◽  
pp. 39-52
Author(s):  
Юлия Сергеевна Овчинникова
Keyword(s):  
Field Studies ◽  
The Internet ◽  
Music Culture ◽  
The Public ◽  
Musical Tradition ◽  
Current State ◽  
The Village ◽  
The City ◽  
Ritual Context ◽  
Linear Nature

В статье рассматривается специфика бытования музыкального фольклора теленгитов селения Язула Улаганского района Республики Алтай в условиях транзитивности (по материалам полевых исследований 2003 и 2019 гг.). Музыкальный фольклор теленгитов обособленного селения характеризуется полистадиальностью, «вероятностной» (поливекторной, нелинейно меняющейся) природой развития, увеличением культурного разнообразия и трансформацией моноязычной культурной среды в многоязычную в лингвистическом, музыкальном и бытовом планах. Каналами инокультурного влияния на интонационное поле теленгитской музыкальной традиции сегодня выступают радио, Интернет и телевидение, сельский клуб, доступная транспортная связь с городом, международные курултаи сказителей . При расширении сферы бытования различных форм фольклоризма (советского, российского, алтайского) песенная фольклорная традиция теленгитов продолжает существовать исключительно в обрядовом контексте (закрыто от глаз приезжих). Владение каем - особым типом интонирования, характерным для тюрков Горного Алтая, маркирующим их этнокультурную идентичность, - востребовано сегодня со стороны туристов, региональной администрации и общественности, что ведет к миграции носителей этой традиции из обособленных селений в центральные. Трансформация искусства кая обусловлена единым процессом глобализации/глокализации, переходом от традиционного контекста бытования к сценическому фольклоризму, проникновением инокультурных интонационных форм в звуковой ландшафт теленгитских селений. This article focuses on the current state of Telengit music culture in Yazula Village (Ulagan Region, Republic of Altai) in conditions of transitivity. The material presented is based on field studies in 2003 and 2019. The Telengit musical folklore of this territorially isolated village is characterized by polystadiality; the “probabilistic,” non-linear nature of its development; by an increase of cultural diversity; and by the transformation of a monolingual environment into a multi-lingual one in linguistic, musical and ontological terms. Channels for outside cultural influence on the intonational field of the Telengit musical tradition include: radio, television, the Internet, the local club, transportation to the city; and International Kurultai of storytellers. In the presence of different forms of folklore (Soviet, Russian, Altaian) performed in the village club, the village folksong tradition continues to live on exclusively in a ritual context (inaccessible to outsiders). The mastery of kai as a specific type of intonation, typical for the Turks of Gorny Altai, that marks their ethnocultural identity, is in demand today by tourists, regional administrations and the public. This leads to the migration of carriers of this tradition out of isolated settlements into more central ones. The transformation of the art of kai in modern Telengit culture is conditioned by the process of globalization/glocalization; by the change of kai’s function in a traditional context to that of staged folklorism; and by the penetration of other cultural intonational forms into the soundscape of Telengit villages.

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals Musical culture of China in the first half of the XX century a dialogue with European and national

2021 ◽  
pp. 63-78
Author(s):  
Natalia Bragina ◽  
Wang Jie
Keyword(s):  
Comparative Analysis ◽  
New Music ◽  
Musical Culture ◽  
Common Trends ◽  
Music Schools ◽  
Chinese Music ◽  
The Arts ◽  
Time Distance ◽  
The Aesthetic ◽  
Xix Century

The article attempts to systematize the processes taking place in Chinese musical culture in the first half of the XX century. The main direction of European art, manifested in this period in China – Romanticism. Using the example of the development of chamber vocal gen-res, it is shown how the aesthetic attitudes of Romanticism-the reliance on national traditions and the desire to synthesize the arts – were manifested in the works of Chinese composers. The methods of musical and poetic analysis, as well as the method of comparative analysis, are used to identify common trends between the formation of new music in China and the pro-cesses of formation of «young» European music schools in the first half of the XIX century. The reasons for the lag in the development of some na-tional cultures and the regularities of their accelerated development and overcoming the time distance are revealed. The most typical works of chamber-vocal genres of Chinese music of the specified period are used as the material for analysis.

scholarly journals Musical Tradition and Cultural Vision in Langston Hughes’s Poetry

2020 ◽  
Vol 33 ◽  
pp. 41-45
Author(s):  
Lekha Nath Dhakal
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Gospel Music ◽  
American Music ◽  
Langston Hughes ◽  
Literary Field ◽  
Musical Culture ◽  
Academic Field ◽  
Concert Music ◽  
Musical Tradition

In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both popular and concert music, since the 1920s. In addition to his personal affinity for blues, jazz and other specifically African American musical forms such as gospel music, his vast contribution to American music specifically and American music culture in a broader sense can be separated into four general categories.

scholarly journals Features of the Ukrainian performing school of opera in the context of the evolution of European traditions

2021 ◽  
Author(s):  
Igor Borko
Keyword(s):  
Performance Analysis ◽  
Research Methods ◽  
Comparative Methods ◽  
Stylistic Analysis ◽  
Research Approach ◽  
Music Culture ◽  
Musical Culture ◽  
Holistic View ◽  
National Music ◽  
Methodological Principles

The purpose of the study is to consider, analyze the features and main aspects related to the development of the Ukrainian performing school of opera in the context of the evolution of European traditions. Methodology. Leading research methods are historical-genetic, comparative, methods of genre and stylistic analysis, and the method of performance analysis. Scientific novelty. The article examines the main aspects, characteristics, and methodological principles of Ukrainian and European musicology, which opened new opportunities for a more complete, unbiased study of the path that had to overcome the national music culture, opera. Conclusions. As conclusions of the research results, we can say that a detailed study and study of the history, present, and trends of national music culture contributes to the development of modern performance. Absolutization of the research approach can lead to significant losses in the scientific interpretation and interpretation of artistic trends and even certain distortions in the creation of a holistic view of musical processes. Keywords: performing school, opera art, musical art, musical culture, Ukrainian music.  

scholarly journals Defined aspects of the development of Ukrainian pop song within the postcolonial period of the late XX – early XXI century

2021 ◽  
Author(s):  
Anatoliy Oronovsky ◽  
Ganna Tsap ◽  
Larysa Oronovska
Keyword(s):  
World Music ◽  
Operating Conditions ◽  
Social Changes ◽  
Music Culture ◽  
Musical Culture ◽  
The World ◽  
Flexible Mechanism ◽  
First Time ◽  
Ukrainian Society

The purpose of the article. To consider and analyze some aspects of the development of modern Ukrainian pop songs in the postcolonial period of the late XX - early XXI century. The methodology involves the use of a systematic approach to research, as well as the use of methods of analysis, synthesis, historical and comparative, which allowed analyzing the development of Ukrainian pop songs in the Soviet system and after independence when it was in the field of Russian influence. which is the glow of long-term colonial status. The scientific novelty is that for the first time the development of Ukrainian pop songs was considered not only in the context of art analysis but also the research of postcolonialism, which generally affected the development of Ukrainian culture of XX - early XXI century. Conclusions. Changes in music culture are evidence of the adaptation of the flexible mechanism of music creation to new operating conditions. And although it is difficult to predict further social changes and their impact on the formation of musical culture not only in Ukrainian society but also in the world, the main trends have already been outlined. They consist of a certain unification of musical and stylistic standards, which will eliminate the differences between performers of popular musical compositions around the world. Accordingly, globalization dictates fashion in the field of music culture. In general, at the beginning of the third millennium, Ukrainian pop song culture entered the context of European and world cultural processes and became the property of world music culture, and its brightest representatives occupy a worthy place among world masters. Keywords: pop, pop song, postcolonial influences, national self-identification.

scholarly journals Polish Music Culture in the Life and Work of the Composer Sergey Slonimsky

2021 ◽  
Vol 27 (4) ◽  
pp. 129-138
Author(s):  
O. L. Devyatova ◽  
Keyword(s):  
Cultural Relations ◽  
Music Culture ◽  
Musical Culture ◽  
Modern Culture ◽  
Polish Music ◽  
Political Differences ◽  
Creative Life

The article is devoted to the problem of cultural relations between Poland and Russia in the second half of the 20th and early 21st centuries, which are studied using the example of musical culture and Russian-Polish relationships in the creative life of the St. Petersburg composer Sergei Mikhailovich Slonimsky. The significance of the genealogical and genetic roots and musical and creative contacts of the greatest master of modern culture with Poland and Polish music, both in the 19th and 20–2I-th centuries, is proved. It is concluded that it is musical culture, represented by its outstanding creative figures, that is capable, despite political differences, to establish strong, fruitful creative and friendly relations between the two Slavic countries.

How to Destroy Creativity in Music Students: The Need for Emotional and Psychological Support Services in Music Schools

2009 ◽  
Vol 24 (1) ◽  
pp. 15-17
Author(s):  
Julie Jaffee Nagel
Keyword(s):  
Personal Growth ◽  
Support Services ◽  
Performing Arts ◽  
Music Teachers ◽  
Career Services ◽  
Music Programs ◽  
Music Students ◽  
Music Schools ◽  
Career Plans ◽  
Interdisciplinary Programs

A decision to pursue a career in the performing arts is a lifelong and complex undertaking. Musicians begin instrument lessons in early childhood, when the ego and talent are developing simultaneously. In these vulnerable years and at any age, music teachers and schools can inhibit the creativity, musical and personal growth, and careers of their students by various common attitudes: e.g., overemphasis on improving technique and winning competitions; stress on prestigious performance careers; denial of the psychological implications of playing-related injury; or failure to promote other professional outlets in music as well as other professions. Sometimes, a musician's career plans are altered or aborted altogether. The author advocates the establishment of psychological and physical interdisciplinary programs and courses in the curriculum as important aspects of healthy music programs as well as career services programs to assist students with both performance and non-performance careers.

Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk'sThe Banjo

2017 ◽  
Vol 11 (2) ◽  
pp. 155-183
Author(s):  
LAURA MOORE PRUETT
Keyword(s):  
Nineteenth Century ◽  
American Music ◽  
Cultural Significance ◽  
Music Culture ◽  
Early Nineteenth Century ◽  
Concert Halls ◽  
Piano Composition ◽  
And Performance ◽  
Minstrel Shows ◽  
Class Divisions

AbstractThis article reconsiders the cultural significance and historical impact of the well-known virtuosic piano compositionThe Banjoby Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white middle- and upper-class parlors and concert halls for the latter. InThe Banjo, Louis Moreau Gottschalk lifted the banjo out of its familiar contexts and placed it in the spaces usually privileged for the piano. Taking its inspiration from both African American and minstrel banjo playing techniques, Gottschalk's composition relaxed and muddled the boundaries among performance spaces, racial and class divisions, and two conspicuously different musical instruments in an egalitarian effort to demonstrate that, contrary to the opinions of some mid-nineteenth-century musical critics and tastemakers, both the piano and the banjo have a place in the shaping of American music culture.

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